They both worked at Republic from its creation in 1935 until the company could no longer afford to maintain full-time contract players and behind-the-camera artists in the middle 1950s, after which they went freelance and found themselves in significant demand for both film and television work. Their miniature effects made Republic serials the best for visual effects, far outstripping their competitors at Universal (where special effects maestro John P. Fulton, ASC was forbidden from working on serials) and Columbia Pictures. Their success came from building large, detailed models and filming them in natural light, often in forced perspective to create realistic impressions that they were in fact life-size in relation to other objects and people in a shot, instead of the small models used by others, and the use of slow motion to give the models the appearance of realistic weight when in motion. For instance, in The Adventures of Captain Marvel, the visuals of Captain Marvel flying appear to be an actual man in flight, not a matted or superimposed image.